Margaret Mary McGowan CBE (21 December 1931 – 16 March 2022) was a British dance historian and historian of early modern France. Her work was mainly focused on the late Renaissance and the fin-de-siècle period at the end of the nineteenth century. She was a chevalier of the Ordre des Arts et Lettres (2020), a winner of the Wolfson History Prize (2009), a member of the British Academy and an emerita research professor at the University of Sussex. Early life McGowan was born in Deeping St James, Lincolnshire, on 21 December 1931. She was the third of four children of George McGowan and his wife Elizabeth McGrail. She attended Stamford High School and went to the University of Reading to study French. In 1957 she met Sydney Anglo, an academic, whom she married in 1964. Career McGowan did her doctoral dissertation at the Warburg Institute of the University of London under the supervision of Frances Yates, published subsequently as L'art du Ballet de Cour en France, 1581–1643. McGowan's first academic job was in the faculty of the University of Strasbourg. Between 1957 and 1964, she worked at the University of Glasgow, after which she joined the University of Sussex at Brighton, becoming professor of French in 1974. Between 1992 and 1997, she was pro-vice chancellor of the university. She retired in 1997 but continued as a research professor. She was one of the first scholars to focus on the history of dance in the early modern period. She was one of the founders of the Society for Dance Research, and served as assistant editor for the journal Dance Research for several decades, helping to shape the field of early dance studies. In addition to nearly a dozen books, she published over eighty articles and book chapters. Research McGowan's first book, published in 1963, was her doctoral dissertation. It was especially well-received in France, with reviewers citing her pioneering evaluation of the political context of dance, with ballet in particular demonstrated as a politically driven artform. The interdisciplinary nature of her work, combining art history, musicology, theatre and Renaissance history, was recognised by her peers, in particular Jean Jacquot, who invited her to present at Paris conferences. In contrast, however, to modern analyses of dance that incorporate frameworks and terminology of French theorists such as Michel Foucault, McGowan averred that Renaissance dance, where an individual's performance took precedence over that of